All language subtitles for 15 - Universe and aesthetic proposal.eng

If we are scriptwriters
or filmmakers

many times
we do not have tools

to draw as well as someone
who engages in illustration

or as a director
or director of art.

So sometimes we are
facing the limitation

of how we can capture
or how we want to see

our format.

My recommendation is that they look for
a partner and work together

Try looking for references,
doing moodboards,

maybe a Pinterest
or some influences,

and finish to see how it could work
the universe of our character.

Make a huge effort not to say
"I like it" or "I do not like it".

The best we can do is
build some criteria

that will help our partner
to try to think with us.

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If not, all the time
will show us things

and we'll say
"I like it" or "I do not like it".

and the truth is that we are not
buying clothes or painting a living.

We try to make an audiovisual format
and it has to have some coherence.

Think about what
the meaning of colors,

why it has a certain morphology,
why they choose certain elements.

This way they can come up with a concept
and then they can transmit it

to a bigger team
when they do their format.

So, let's see how
worked with "Siesta Z"

the creative process of finding
that universe

in which we put
our character.

The development of the art of "Siesta Z"
was in charge of Nicolás Dardano,

who besides being very friendly
is a fantastic art director

and graphic designer.

What we think is that the dreams
of Siesta were innovative, surreal,

that had their own rules,

that each dream was a visual metaphor
of the classic that invites us to expand

the limits of our imagination.

We wanted to make a species
of Cartoon Network,

a much more irreverent aesthetic
and much more surreal.

And we really wanted
our audience,

when I was watching the classic
adapted to animation,

was seeing a world
absolutely different

than you would have imagined
if I was reading the book.

In each episode, the scenario
in which the story takes place

holds a metaphor
and a visual synthesis of the work.

This universe is composed of elements
that any boy or girl

would see in his daily life,
but mixed or intervened

with surrealist representations.

In the same way that the worlds
mix in dreams

and we move from one place to another,

the adaptations of Siesta
have a dream approach

that we invites to assume
as credible and unusual

in each of the episodes,
incentivizing the imagination.

For example, "Hamlet" takes place
in a kind of mousetrap

in reference to the staging
that Prince Hamlet

makes on stage
of the murder of his father .

"The Iliad", for example,
is a large game board

in which the gods
play with humans.

Here we are looking at "Romeo and Juliet",

that functions as a sort
of an orbital space station

in which the castle of the Montagues
is symmetrical to that of the Capulets.

Somehow the idea that they are
the same, they are alone in the universe

and even so, even though they are needed,
are fighting.

One family has one color
and the other has another color,

and they are going to be the colors
of Romeo and Juliet.

So somehow, besides
we try to add in the series

some kind of idea of goodies.

We wanted that,
if Siesta represented love,

not come out hearts
but would get treats.

This idea of love as candy,
a kind of metaphor

of the most beautiful
that can happen to us

when we are boys many times,
that is eating sweets

or let us eat sweets.
We imagined

what is the representation
of romantic love in childhood,

and we agreed that maybe sweets
would be a nice representation

of what happens to us the biggest,
when we fall in love.

This is the scenario of "The Odyssey",
which is a kind of board game.

What we had to make clear
is this journey of Ulysses

going through the different stations
until reaching Ithaca,

which is his final destination.

"David and Goliath." It occurred to us
make stone Goliath

and the stone that David
throws at him with his sling

that is a kind of planet
that was flying.

We forced
that in all the episodes

there was a visual metaphor,
a big stage

that represents the main conflict.

Somehow,

all the characters had thought
that they could come together in chapters

and be able to make episodes where
Frankenstein lived with Hamlet

or the ghost of Canterville
I would live with Moby Dick.

So in a picture
we can have a general idea

of how the color palette is,
how is the morphology,

what kind of drawing he has,

how is the character
of the characters.

Although Nicolás did in this illustration
a very developed work,

you saw before where
began the design work.

In principle, my advice is that there is
to have patience

and we must allow an idea
to develop.

have to do tests,
you have to look for references again,

you have to redraw and be
very neat when saving

each of the "concepts",
each one of the advances,

as to go back and analyze
what was the work that was done,

the work that you have
to keep doing.

All this conceptual search
is purely development work,

and the truth is that if one sees
the folders that one presents

to get funds
to do the series

and then sees the finished series,
realizes that,

luckily, one took a long time
and could elaborate

much more the graphic part.

But the truth,
without that first folder,

or without those first advances,

would have been impossible
reach the end.

I always think of Mafalda,

and I think of the first Mafalda
and the Mafalda ten,

I had the ten booklets,
and really in the last Mafaldas

Quino had developed an aesthetic
much more polished than the first.

But at the same time
the first ones are endearing.

Something similar,
saving the giant distances,

happened with Zamba, with the first
that were much harder,

and with the Zamba of the last chapters,
that was much more aesthetic,

moved much better.

So, I think you have to be demanding
but at the same time you have to know

that it's a long job
and that, fortunately,

the job of finding funds
also it's long

so it's going to give us time
to go polishing the forms.

Once we have the universe
in which the story is going to pass,

with its laws and its character,

we have a notion of the idea.

What we can do
is start writing the script.

In the next unit we will see
synopsis, runway, dramatic structure

and how to start writing the script
of our project.